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Archive for the ‘Edmond O’Brien’ Category

Warner Archive has a couple early 50s pictures on the way, both of them worth your time and hard-earned dough. Look at the casts on these things!

The Lion And The Horse (1952)
Directed by Louis King
Starrting Steve Cochran, Wildfire, Ray Teal, Bob Steele, Harry Antrim, George O’Hanlon

The Lion And The Horse was an early exercise in Warnercolor, but don’t hold that against it. I’ve never seen this one, but with Ray Teal and Bob Steele that far up on the cast list, I’m dying to. Steve Cochran played a bad guy more often that not, and this gives him a chance to be likable. Shot in Utah’s Mount Zion National Park, the animals had trouble with the high altitudes and were placed in an oxygen tent from time to time. Director Louis King’s previous picture was Frenchie (1950) with Joel McCrea, and he’d follow it with Powder River (1953).

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Cow Country (1953)
Directed by Lesley Selander
Starring Edmond O’Brien, Helen Wescott, Bob Lowery, Barton MacLane, Peggie Castle, James Millican, Robert Wilke, Raymond Hatton, Tom Tyler, Jack Ingram

Cow Country plays like a series Western on a larger scale — and that’s a good thing. Of course, what would you expect from Lesley Selander? James Millican has a great part here, and Robert Wilke is badder than usual. And Peggie Castle alone is worth the price of admission. Recommended.

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Directed by John Ford
Starring John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O’Brien, Andy Devine, Woody Strode

One of the greatest Westerns of them all — and in my opinion, one of the finest American films ever made — is coming to Blu-ray in October. From the performances to the stunning black-and-white cinematography to the direction, John Ford’s The Man Who Shot Liberty Valance (1962) comes as close to perfection as any film I can think of. Every time I see it, I find something new to marvel at, from the huge steaks hanging of the sides of giant plates to a particular shot (like the one below) to John Wayne kicking Strother Martin in the face. The last time, it was the grace Woody Strode brought to his part as Pompey, Wayne’s ranch hand.

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I can’t think of a film I’d rather see make the move to Blu-ray.

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While doing some research on George Sherman’s The Treasure Of Pancho Villa (1955), I came across The Odessa American from October 9, 1955. What was playing around town was incredible.

Ector: The Treasure Of Pancho Villa
Scott Theater: Night Of The Hunter 
Rio Theater (next door to the Scott): The Big Combo
Twin Terrace Drive-In: Wichita and New Orleans Uncensored
Twin Cactus Drive-In: The Seven Little Foys and Coroner Creek
Broncho Drive-In: Las Vegas Shakedown and The End Of The Affair
Twin-Vue Drive-In: The Seven Little Foys and The Denver And Rio Grande

You could spend your night with Randolph Scott, Joel McCrea, Robert Mitchum or Rory Calhoun. If all that wasn’t enough, you could head to the Odessa High School field house on the 11th for The Western Revue Of 1955 with Lash LaRue and “Fuzzy” St. John in person — or wait a couple more days for Elvis Presley (“with Scotty and Bill”), Johnny Cash, Wanda Jackson and Porter Wagoner.

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By the way, the Ector Theater was restored in 2001 and runs classic movies from time to time. I love Texas.

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My wife and I watched John Ford’s The Man Who Shot Liberty Valance (1962) on our honeymoon. So as our anniversary rolls around, it usually comes to mind. And this seems like a good excuse to highlight yet another Ford masterpiece.

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Here’s Wayne’s hat from the film. In black and white, it seems so much lighter.

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Lee Marvin’s vest. After his years doing M Squad on TV, Liberty Valance helped Marvin transition from heavy to leading roles as he returned to features.

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One of Edith Head’s sketches for Vera Miles’ costumes.

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John Ford and his terrific cast break for tea. Judging from who’s present and how they’re dressed, they must’ve been shooting the dinner scene where Marvin makes Stewart drop Wayne’s steak — and Strother Martin gets kicked in the face.

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Jimmy Stewart punches John Wayne — with Ford and crew very very close.

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Jennifer and I often celebrate our anniversary by going out for steaks. Makes sense, doesn’t it?

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Written and Directed by Delmer Daves
Director Of Photography: J. Peverell Marley, ASC
Film Editor: Clarence Kolster
Music by Victor Young

CAST: Alan Ladd (Johnny Mckay), Audrey Dalton (Nancy Meek), Marisa Pavan (Toby), Robert Keith (Bill Satterwhite), Charles Bronson (Captain Jack)

Not long after Shane (1953), Alan Ladd left Paramount, the studio that made him a star, and launched his independent company, Jaguar. Their first film was Drum Beat (1954). Based on the 1873 Modoc War, Ladd plays an Indian fighter recruited by President Grant to find a way to peace with the Modoc. Turns out the tribe wants peace, but a chief named Captain Jack (Charles Bronson) and his band of renegades are lousing things up. Repeated attempts for a peaceful resolution are unsuccessful, and we get a very exciting last couple of reels.

Though I’m not a big Alan Ladd fan, I really liked this one. It wears its “sympathetic treatment of the Indians” thing well, but never forgets that it’s action that puts people in the seats. Boy, a lot of people get shot in this thing.

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My job is to protect the wagon train. When somebody shoots at my people, I shoot back.”
— Alan Ladd

Ladd and Daves (and, of course, DP J. Peverell Marley) shot Drum Beat in Warnercolor and the then-new CinemaScope. As was the custom with ‘Scope at the time, they avoided close-ups, went for long takes whenever possible, and gave us lots of gorgeous vistas of Sonora, Arizona, and the Coconino National Forest. Daves always showed off the landscape in his Westerns, making each setting an essential element of the film, and this is one of Drum Beat’s great strengths. If there’s a film that makes better use of the Sonora area, I don’t know what it is.

The cast is a 50s Western fan’s dream: James H. Griffith (as a Civil War veteran who lost a leg at Shilo), Frank Ferguson, Elisha Cook, Jr., Willis Bouchey, Perry Lopez, Anthony Caruso, Denver Pyle and Strother Martin (who I heard was in it, but somehow missed). Of course, Charles Bronson makes quite an impression as Captain Jack in his first film under his new name (it had been Buchinsky, which was considered too Russian-sounding in the HUAC years).

With Drum Beat, Warner Archive gives us a pretty good-looking DVD. The Warnercolor is, well, Warnercolor — but here it looks as good as I’ve ever seen it look. The image is a tad soft at times (varying from shot to shot), some of which we can blame on the early CinemaScope. The audio is excellent; I love the stereo sound of these early Scope pictures, with an actor’s voice following them as they move around within the wide frame. This is a really good film, and a real treat in widescreen and stereo (I’d love to see a Blu-ray turn up someday). Highly recommended.

Alan Ladd and Delmer Daves reunited for The Badlanders (1958), also available from Warner Archive. I haven’t seen it in ages, and I’m really eager to revisit it.

Along with Drum Beat, two more Ladd Westerns came riding into town, thanks to Warner Archive.

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The Big Land (1957)
Directed by Gordon Douglas
CAST: Alan Ladd, Virginia Mayo, Edmond O’Brien, Anthony Caruso, Julie Bishop and John Qualen

Ladd’s a cattle man who works to build a town around a railroad hub, which will benefit the local ranchers. Of course, there’s someone who doesn’t want all this to happen.

As a drunk, Edmond O’Brien steals every scene he’s in. He’s terrific. This is WarnerColor again, and it’s not as well-behaved as it is in Drum Beat. Good movie, though, especially if you’re a fan of O’Brien or Virginia Mayo. Gordon Douglas is as dependable as ever.

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Guns Of The Timberland (1960)
Directed by Robert D. Webb
CAST: Alan Ladd, Jeanne Crain, Gilbert Roland, Frankie Avalon

This time, Ladd’s a lumberjack who arrives in the Northwest to take out a lot of trees. The townspeople are afraid Ladd’s efforts will cause mudslides and do other environmental harm. Frankie Avalon sings “Gee Whiz Whillikins Golly Gee,” which Bugs Bunny used to sing in the bumpers to The Bugs Bunny Show on Saturday mornings. This tune is just one of the things that put Guns Of The Timberland in that goofy time period that a lot of series Westerns exist in, where Old and New West, cars and buckboards peacefully coexist.

Jeanne Crain is beautiful, Gilbert Roland is as cool as ever, and Lyle Bettger actually gets to be a good guy for once. The Technicolor makes it to DVD looking like a million bucks, while alcohol has Ladd looking just terrible.

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A while back, I brought up an exclusive at Collector’s Choice on some Alan Ladd pictures from Warner Archive. Well, that arrangement has about run its course, and those titles will soon be available through normal Warner Archive channels.

Drum Beat (1954)
Directed by Delmer Daves
Starring Alan Ladd, Audrey Dalton, Charles Bronson and Elisha Cook, Jr.

The Big Land (1957)
Directed by Gordon Douglas
Starring Alan Ladd, Virginia Mayo, Edmond O’Brien, Anthony Caruso, Julie Bishop and John Qualen.

Guns Of The Timberland (1960)
Directed by Robert D. Webb
Starring Alan Ladd, Jeanne Crain, Gilbert Roland and Frankie Avalon

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There’s another exclusive, this time with Oldies.com, on a couple Allied Artists CinemaScope Westerns to be released July 15.

Oregon Passage (1958)
Directed by Paul Landres
Starring John Ericson and Lola Albright
Paul Landres made some solid low-budget Westerns (Frontier Gun, for instance), so I have high hopes for this one. Incidentally, it’s working title was Rio Bravo. Wonder how the change in title went down, with Howard Hawks’ own Rio Bravo in production around the same time?

Gunsmoke in Tucson (1958)
Directed by Thomas Carr
Starring Mark Stevens and Forrest Tucker
I’ve been on the lookout for this one for quite some time, which goes into familiar range war/brothers-on-opposite-sides-of-the-law territory. I’d also love to see Carr’s The Tall Stranger (1957), starring Joel McCrea and Virginia Mayo, turn up on DVD.

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Warner Archive has given Collector’s Choice an exclusive on four Alan Ladd films, three of them Westerns. This is stuff many of us have been asking for. Click on the banner for more information.

Drum Beat (1954)
Directed by Delmer Daves
Starring Alan Ladd, Audrey Dalton, Charles Bronson and Elisha Cook, Jr.
This CinemaScope Western was the first film from Ladd’s Jaguar Productions, and it offered a good early role for Charles Bronson. Note the photo below: Daves, Jack Warner and Ladd commemorate Drum Beat with a cake.

The Big Land (1957)
Directed by Gordon Douglas
Starring Alan Ladd, Virginia Mayo, Edmond O’Brien, Anthony Caruso, Julie Bishop and John Qualen.
I think we all take Gordon Douglas for granted, maybe because he didn’t “specialize” in Westerns the way so many of our favorites did. This one, Fort Dobbs (1958) and Yellowstone Kelly (1959) are all terrific.

Guns Of The Timberland (1960)
Directed by Robert D. Webb
Starring Alan Ladd, Jeanne Crain, Gilbert Roland, Frankie Avalon
Have to admit I’ve never seen this one. Looking forward to it.

A fourth film, The Deep Six (1958), is not a Western. Directed by Rudolph Maté, it’s a World War II picture with William Bendix and James Whitmore. Does it get any better than Whitmore in a war film?

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